MO PLAYS EXCHANGED. 



PS 3513 

R692 
K6 
1918 
Copy 1 



ther's Edition 

6T PLAY.5 <f 



The Knitting Club Meets 



Price, 25 Cents 



& 







fX 



£? 



>cfl 





ft 



Salter iTtbtxker &cq. 

BOSTON 



yaa&s 



JL m» Pinero's Plays 

Price, SO Cents each 



Till? AMA 7nN^l Farce in Three Acts. Seven males, five fe- 
lllLi i\.illI\L\JWJ males. Costumes, modern; scenery, not 
difficult. Plays a full evening. 

THE CABINET MINISTER 



Farce in Four Acts. Ten 
males, nine females. Cos 
tnmes, modern society; scenery, three interiors. Plays a full evening. 



nAWnV niPlf Farce in Three Acts. Seven males, four fe- 
Lr/AllU I i/IviY males. Costumes, modern; scenery, two inte- 
riors. Plays two hours and a half. 

TUP C AV I HRn OITFY Comedy in Four Acts. Four males, 
InL uAl I.lylvl/ V4UCA ten females. Costumes, modern; 
icenery, two interiors and an exterior. Plays a full evening. 

UIC UATTCr IM flDnCD Comedy in Four Acts. Nine males, 
tllo ilUUiJt 111 UI\UEJ\ four females. Costumes, modern; 
scenery, three interiors. Plays a full evening. 

Tlir UHDDV I4ADQE Comedy in Three Acts. Ten males, 
lilL nUDDl ni/lVOEi nv e feinales. Costumes, modern; 
gcenery easy. Plays two hours and a half. 

IDIQ Drama in Five Acts. Seven males, seven females. Costumes, 
livid modern ; scenery, three interiors. Plays a full evening. 

I AfW RniTNTIFTTI Play in Four Acts. Eight males, seven 
IatAL/1 DUUlllirUlj females. Costumes, modern; scen- 
ery, four interiors, not easy. Plays a full evening. 

I rTTY I> r a- m ' a in Four Acts and an Epilogue. Ten males, five 
MaLdi 1 I females. Costumes, modern; scenery complicated. 
Plays a full evening. 

mlWIAPICTR ATF Farce in Three Acts. Twelve males, 
iYl/i.\JiJ 1 S\i\ I £1 four females. Costumes, modern; 
fltenery, all interior. Plays two hours and a half. 



h 



Sent prepaid on receipt of price by 

Salter Q pafeer & Company 

Vo. 5 Hamilton Place, Boston, Massachusetts 



The Knitting Club Meets 

Or 

Just Back from France 
A Comedy in One Act 



By 
HELEN SHERMAN GRIFFITH 

Author of -Getting the Ranger "An A/arm of Fire," 

"The Dumb Waiter," -A Large Order, -Maid 

to Order," tl A Mans Voice," -A Psychological 

Moment y -The Scarlet Bonnet," -The 

Wrong Miss Mather," -The Wrong 

Package," etc. 



BOSTON 

WALTER H. BAKER & CO. 

1918 



P535I3 



i 
The Knitting Club Meets 



CHARACTERS 



Rosamond Allen, the hostess 

Eleanor Kent, her best friend. 

Lucy Gordon, 

Alice Lane, 

Myra Fields, 

Grace Bennett, 

Lydia Greene, 

Nora, the maid. 

Jane Rivers, just backfmn Frame, 



■ members of the Knitting Club, 




Copyright, 191 8, by Helen Sherman Griffith 



Free for amateur performance. Professional stage and 
moving picture rights reserved 



NOV 21 1918 

©CI..D 50 73 9 






The Knitting Club Meets 



SCENE. — Rosamond Allen's luxuriously furnished 
drawing-room. A tea table at one side; exits back 
and R. Time, the present. 

(Curtain rises disclosing Rosamond putting finishing 
touches to room.) 

Rosamond (looking at clock). I do hope every one 
will be prompt, so we can get a lot of knitting done. 
Sometimes I wonder if we wouldn't get more accom- 
plished if each of us stayed at home and worked quietly 
by ourselves. We talk so much — and eat so much ! — at 
these meetings. By the way, has Norah brought in 
enough teacups? (Surveys tea-table.) 

(Bell heard. Slight pause; then enter Norah, back.) 

Norah. Mrs. Kent, ma'am. 

(Draws aside for Eleanor's entrance.) 

Rosamond (cordially, coming forward). Oh, Eleanor, 
I'm so glad you've come early! (Eleanor returns her 
greeting coldly, and crosses room. Rosamond, stopping 
Norah as she goes out, back.) Norah, have you ar- 
ranged the knitting display in the library, as I said? 

Norah (pausing in doorway). Yes, ma'am. 

Rosamond. And that last package — that came this 
morning. Did you open it and put the things with the 
rest? 

Norah (hesitating and glancing at Eleanor). I 
don't think the last package was meant for the knitting 
display, ma'am. 



4 THE KNITTING CLUB MEETS 

Rosamond. Indeed? I thought it was labeled for 
that. What was it, Norah ? 

Norah (embarrassed). I — I — Mrs. Kent can tell 
you, ma'am. Her card was in it. 

Eleanor (turning at sound of her name). What's 
that? Oh, yes, I sent my things over this morning. 
Sorry to have been so late with them, Rosamond. 

Rosamond. Fetch the package to me, Norah. 

Norah. Yes, ma'am. 

(Norah crosses room and exits, r. During this dia- 
logue Eleanor has wandered impatiently about 
room.) 

Rosamond (laughing). Why do you suppose Norah 
thought your things did not belong to the rest, Eleanor? 
Are they so beautifully done? 

Eleanor (absent-mindedly) . I don't know, I'm sure. 
Rosamond, I came early this afternoon, to ask you 

Enter Norah, r., carrying a heap of gay colored knitted 
garments. 

Norah (holding them out to Rosamond). These is 
them, ma'am. 

Rosamond (staring, and lifting card that lies on top 
of heap). Why, Eleanor, what are these? 

Eleanor (turning from restless fingering of books 
and photographs on table). What are what? Oh — 
those are my contribution to the knitting exhibition. 

Rosamond. But 

Eleanor (in vexed tone). You mean that they are 
not of a hideous gray or khaki color? Well, why should 
they be, pray ? The poor men must starve for color. 

Norah (thoughtfidly). Perhaps they'se fer "The 
Rainbow Division," ma'am. 

Eleanor (sharply). Nonsense, Norah. Don't be 
impertinent. 

Rosamond (quietly). Put them with the others in 
the library, please, Norah. (Exit Norah, r., with bundle, 
sulkily. Rosamond, graciously.) They are very beauti- 
ful, Eleanor. You might almost keep them for Christ- 
mas presents. (Seats herself and lakes up knitting.) 



THE KNITTING CLUB MEETS 5 

Eleanor (throwing herself into a chair near Rosa- 
mond, and playing with her gloves). Rosamond, is it 
true that some one is coming to address us this after- 
noon ? 

Rosamond (surprised). True? Why, of course. 
You yourself helped us to arrange it, at the committee 
meeting. I telephoned the Red Cross headquarters, as 
we agreed, and they have promised to send a speaker. 

Eleanor. Well, do you know who she is? 

Rosamond (a little irritated). Of course I do. What 
are you driving at, Eleanor ? Do you think I have been 
inefficient in getting this thing up? 

Eleanor. Who is the speaker to be? 

Rosamond. I think her name is — Smith — I'm not 
sure. I have it down in my book. (She crosses to writ- 
ing desk, takes out a small memorandum book and brings 
it back, sitting down as she opens it.) Yes, here it is. 
" Miss Isabel Smith/' from somewhere in Ohio. 

(She holds open book out to Eleanor.) 

Eleanor (apologetically, taking book). Oh, I — I 
beg pardon. (Glances at book.) 

Rosamond. What has got into you, Eleanor? You 
and I have worked on so many committees, and every- 
thing has always 

Eleanor (interrupting). Ah, you did not read it all, 
Rosamond. You have noted here — (reads) " Miss 
Isabel Smith, or a substitute if she does not turn up in 
time." 

Rosamond (calmly, knitting). They always make 
that stipulation at the Red Cross rooms. 

Eleanor. Well, I happen to know that there is to be 
a substitute this afternoon. 

Rosamond. Well, what of it? You speak as if it 
were a tragedy. None of the club know Miss Smith, or 
have heard her speak, so they won't feel that they are 
missing anything. 

Eleanor (tragically). That is not my point. 

Rosamond. Well, then, what is your point? I de- 
clare, Eleanor, you are very odd to-day. Do tell me 
what is the matter. Are you afraid they won't be able 



6 THE KNITTING CLUB MEETS 

to send a satisfactory substitute, and what has happened 
to Miss Smith ? 

Eleanor (frozvning) . They have already chosen the 
substitute, Rosamond. (Eyeing her suspiciously.) Are 
you sure you don't know anything about it ? 

Rosamond. Why should I? Mrs. Roberts knows 
that if Miss Smith failed to come, a substitute would be 
perfectly satisfactory to us. 

Eleanor. But not this substitute. Rosamond, they 
are sending Jane Rivers here this afternoon. 

Rosamond (looking pleased). Jane Rivers? Why, 
I did not know she had got back. How lovely ! I wish 
I had known in time. Ed have had some roses for her. 

Eleanor (indignantly). "How lovely," indeed! Is 
that all your friendship for me is worth ? 

Rosamond. Why, Eleanor, what can you mean? 
What have I done? 

Eleanor. What have you done? You have for- 
gotten that Jane Rivers and I are sworn enemies. 

Rosamond. Oh, that old quarrel? Surely, Eleanor, 
you have not cherished that all these years? 

Eleanor (offended). It is not a question of "cher- 
ishing." Jane Rivers hurt my feelings beyond all for- 
giveness. A few years more or less do not matter when 
one's heart has been wounded to the core. 

Rosamond (mildly). Oh, Eleanor dear, it was not as 
bad as that. It really was nothing more than a school- 
girl quarrel. You have exaggerated its significance by 
thinking of it too much. 

Eleanor. It is easy enough for you to talk, when 
it was not you who suffered. 

Rosamond. But, my dear 

Eleanor. Never mind " buts." The question is, 
what are you going to do about this afternoon? 

Rosamond. What can I do ? Everything must go on 
as arranged. 

Eleanor. And you are going to let her come to us — 
here — and preach to us? 

Rosamond. I don't think she'll preach. Jane was 
never one of the preachy kind. 

Eleanor. My enemy set above me — here in the house 



THE KNITTING CLUB MEETS 7 

of my best friend! I never believed I should be so 
affronted ! 

Rosamond. I don't want to affront you, Eleanor. 
Nothing could be further from my thoughts ! Why, my 

dear 

(Bell heard.) 

Eleanor (turning to listen). They are beginning to 
come. I shall have to brazen it out. Don't let any of 
the girls know how I feel, Rosamond. I shall never let 
any one say that I was routed by Jane Rivers. 

Rosamond. Oh, Eleanor, dear, I am so sorry 

Norah (in doorway, back). Miss Gordon, ma'am. 

[Exit. 

Enter Lucy Gordon. She is rather a silly person dressed 
in the height of fashion, and carries a magnificent 
knitting-bag. 

Lucy (gushingly, coming forward). How do, Rosa- 
mond, dearie. (Kisses her.) And Eleanor, too. "The 
early bird"? (Kisses her.) 

Eleanor. If you mean you think I came early to 
catch the worm of gossip, you may rest comfortable. 
You haven't missed anything. 

(She takes out her knitting, not gray or khaki, but 
bright pink, and sits in chair rather removed from 
others, and knits fast.) 

Lucy (gayly). What, honey, breaking the rules? 
Only soldiers' knitting here, you know. 

Eleanor (without turning her head). This is for a 
soldier. 

Lucy (coquettishly). Oh— one on leave? (Fumbles 
in her gorgeous bag.) Where is my work? 

(Bell heard. Slight pause.) 

Norah (in doorway, back). Miss Lane, ma'am. 

[Exit. 

Ruler Alice Lane, dressed smartly but simply in tailored 
suit; carries cretonne knitting-bag. 



8 



THE KNITTING CLUB MEETS 



Alice (Coming forward). Then I am not the first 
I see you are all at work already. 

(She shakes hands with the three and seats herself 
taking out her knitting.) 

Lucy (with a foolish little scream). I declare I be- 
lieve I've left my work at home ! Isn't that silly of me? 

Rosamond (dryly). It is, rather, but I can supply 
you with needles and wool. 

(Rosamond lays down her knitting and exits, r.) 

Lucy (in kittenish manner). It is odd how forgetful 
1 am. I particularly wanted my knitting to-day, so as to 
ask one of you to show me how to turn my heel 

Eleanor (over her shoidder). I should think that 
would be easy enough for you to do by yourself, with 
those ridiculous Louis Quinze heels you are wearing 

Lucy (arching her eyebrows and speaking sotto voce 
to Alice). Not in a good humor to-day. 

(She and Alice talk aside.) 
(Bell heard. Slight pause.) 
Noraii (in doorway, back). Mrs. Fields, ma'am. 

[Exit. 
Enter Myra Fields, dressed in uniform of Emergency 
Aid— or Motor Messenger Service; carries Red 
Cross knitting bag. 

Myra (coming forward, consciously). How do you 
like it, girls? It came from the tailor's just as I was 
starting and I went back up-stairs and put it on Why 
where is Rosamond? 

Rosamond (from doorway, r.). Here I am. How 
do you do? (She comes forward, carrying ball of wool 
and needles.) Lucy forgot her work, as usual, so I am 
getting some for her. Why, Myra, your new uniform! 
Isnt it becoming! Turn round and let us see how it 
hangs. 

(Myra revolves slowly before the admiring eyes of 
Rosamond, Alice and Lucy.) 



THE KNITTING CLUB MEETS 9 

Eleanor (over her shoulder, knitting furiously). As 
if the " hang " mattered when she's on duty. 

Myra (serenely, sitting down and taking out her 
knitting). I think it always matters. A woman can al- 
ways put anything through twice as well if she knows 
she's well dressed. 

Norah (at door, back). Mrs. Bennett, ma'am. 

[Exit, back. 

Enter Grace Bennett, a cheerful, motherly looking 
person, well but comfortably dressed. Carries a 
capacious, rather shabby bag. 

Grace. I'm sorry to be late, girls. (Nods to every 
one, shakes hands with Rosamond, sits down and begins 
to knit at once.) But poor, dear little Tommy fell down 
and bumped his precious head, and I had to stop to com- 
fort him. Am I the last? (Bell heard.) Not quite, 
anyhow. 

Norah (at doorway, back). Miss Greene, ma'am. 

[Exit. 

Enter Lydia Greene, very intellectual in appearance, and 
rather down-at-heel in dress. 

Rosamond (greeting her). Late again, Lydia. What 
was it this time; vers libre or an abtruse essay on the 
soul ? 

Lydia (smiling good-naturedly). I dare say I am 
absent-minded about the time, but I don't forget my 
knitting as often as frivolous Lucy, or disobey the gov- 
ernment dictates as does the daring Eleanor. 

(Takes knitting out of a shabby lawyer's bag and be- 
gins to work.) 

Eleanor. Humph ! The government hadn't tried 
wearing nothing but khaki when it made that rule, I'm 
sure. The men's socks and sweaters are always under- 
neath — can't possibly be seen from a distance — so why 
shouldn't they be a cheerful pink or blue instead of that 
dreadful, bilious no-color? Ugh! One day, to experi- 
ment, I put on that hideous khaki dress I was induced to 
buy, borrowed Alice's khaki hat and wore them, with- 



10 THE KNITTING CLUB MEETS 

out a spot of color for relief, the entire day. And I 
assure you, girls, I went to bed in a chill — nervous de- 
pression. Those were the doctor's very words. Then I 
began to make blue socks and pink sweaters for the men. 

Lucy. You dear, sympathetic creature ! I have 
heard that color did affect the nervous system. Lydia, 
did you ever try color schemes for writing? Who was 
it who could never write the love scenes in her novels 
except in a room with red wall-paper? 

Rosamond. Speaking of red wall-paper, don't you 
girls want to go into the library and see the Red Cross 
work? I've had it spread out there, and I'm sure you'll 
all be surprised to see how much we've done. (Myra, 
Grace and Lydia put down their knitting and move to- 
ward door r. with Rosamond. Eleanor continues to 
knit, her back half turned. Rosamond, from doorway, 
r.) Do come, Eleanor. Your colored things relieve the 
monotony, and I promise there'll be no monotony. 

{All pause. Lucy and Alice have risen to go, but 
pause to talk. Eleanor ungraciously rises, keeping 
her knitting in her hands, and joins group at door. 
They exeunt, r. Lucy and Alice remain on stage. ) 

Alice {looking off R. after Eleanor). I do notice 
that she is a bit " grouchy," Lucy. How do you account 
for it? 

Lucy {lowering her voice and glancing toward door, 
R.). Of course I can't be sure, but I have drawn my 
own conclusions. John Mason went to France yesterday. 
At least, he had sailing orders. 

Alice {also in lowered tone). You mean — you really 
think there was something between them? 

Lucy. You know as much as I do, my dear. We 
have all been on the guess, you know, all winter. Now 
he goes off and Eleanor is like a bear with a sore head. 
It seems to me you have two and two. 

Alice. I wonder. They say I thought her 

marriage a brilliant success. 

Lucy. You can't always tell. Why, when 

Enter the others, r., talking. 



THE KNITTING CLUB MEETS II 

Grace (coming forward). I have come to the end of 
my ball. Who will hold some wool for me? 

Lucy {hurrying forward). Let me hold it, Grace. 
I'd love to. 

(Every one smiles.) 

Eleanor (going back to her chair and knitting). A 
chair back is just as good, Grace. You ought not to en- 
courage slacking. I move we set a fine for every one not 
finishing a garment this week. 

(Lucy and Grace sit on chairs facing, Lucy holding 
wool, Grace winding. Others group themselves 
with their knitting.) 

Myra. That would be hardly fair, Eleanor. With 
my new duties I have very little time for knitting. 

Lucy (simpering). If some one will show me how 
to do the heel, and toe off for me, I can have one sock 
ready by the end of the week. 

Rosamond (looking at clock). It is time for our 
speaker to arrive. Shall we wait tea until she comes? 

Grace. We might start tea ; she can have hers as 
soon as she comes ; then it will all be over and no in- 
terruption when she begins to speak. 

Rosamond. A very practical suggestion, and I shall 
follow it. Eleanor dear, you are nearest the bell ; ring it 
for me, please. 

(Eleanor rises, presses bell button and returns to 
chair. ) 

Lydia. Who is coming, Rosamond ? Somebody down 
at the Service House this morning said Miss Smith had 
not come. I presume they are sending a substitute? 

Eleanor (sniffing). Humph! They are, worse luck. 

Myra (turning to Eleanor). Why, do you know 
who it is, Eleanor? Do tell us, like a dear. 

Eleanor. Rosamond may have that honor. She 
knows, too. 

Rosamond. I did not know until Eleanor told me 
just now, but 

Enter Norah, back. 



12 THE KNITTING CLUB MEETS 

Norah. Did you ring, ma'am? 

Rosamond. Yes, Norah. You may serve tea now. 

(Rosamond rises, crosses room and sits beside tea- 
table. Alice joins her, still knitting. Exit Norah, 
back.) 

Alice. Let me pass things. I love to help. {Looks 
at tea-table.) What delicious French cakes! 

Rosamond. I am afraid they are not according to 
Hoover, but cook did not have time to bake war-cake 
to-day, with the cinnamon bun, nut bread and sand- 
wiches, so I telephoned Henri's for them. 

Enter Norah with teapot and other things, which she 
sets on tray, then hands a plate to each guest. 
Rosamond pours tea and Alice hands cups. When 
Nora has distributed plates she passes sandwiches, 
cakes, and so forth — a great profusion of every- 
thing. 

Myra. But you haven't told us yet who the speaker 
is to be, Rosamond. 

Lucy {gushingly, as Norah passes cakes). Oh, what 
delicious little cakies ! Grace, honey, can't we finish the 
wool later? 

Rosamond. Suppose we keep the identity of the 
speaker as a surprise. I can promise none of you will 
be disappointed. 

Eleanor {sarcastically). Oh, of course not. She is 
so popular! I won't take any tea, thanks. 

(Rosamond sighs. Lucy and Alice exchange 
glances. ) 

Grace {sipping her tea). Well, I hope she won't ask 
us for any money. I haven't a penny left — literally not 
a penny, until the first of the month. 

Lucy {patting a gold-link chain bag that hangs from 
her zvrist). Nor I. But she can't ask us for money. 
We are protected by the War Chest. 

Grace. The War Chest is a very poor protection, my 
dear, in my mind — like a wire fence around a garden; 



THE KNITTING CLUB MEETS 1 3 

there are always crevices for the rabbits and wood- 
chucks to creep in. 

Myra (good-naturedly). Meaning to say that those 
of us who go begging for our pet war-measures are 
bunnies robbing a lettuce bed? 

(They all laugh.) 

Alice. I think we have done our share in giving, in 
this town. We over-topped our quota in all the 
" drives," and I'm sure we've given up enough luxuries. 

Lucy (taking another cake as Noraii passes them). 
Haven't we! If it weren't for these weekly meetings of 
the knitting club, I think I should starve. Why, I'm 
even ashamed to get an ice-cream soda when I go down- 
town — unless somebody's with me. 

(Bell heard. Norah puts down plate of cakes and 
exits, back.) 

Eleanor (to Lucy). And what is the function of 
the "somebody" with you? Does iniquity, like misery, 
love company — or does she generally pay for the soda? 

Myra. Lucy always holds up her end. I can say that 
for her. (To Lucy.) My dear, that five dollars you 
gave me last week just tided that poor family over until 
I could get the proper authorities on the job. I really 
think you saved them from starvation. 

Rosamond. Eleanor dear, do please take a cup of tea. 
You know it always rests you so. 

Eleanor. Eases my temper, I suppose you mean. 
No, thank you. I 

Norah (in doorway, back). Miss Rivers, ma'am. 

[Exit, back. 

Enter Jane Rivers. The person cast for this should 

be very slender, and have a spiritual face. She is 

dressed in a shabby tailor suit, somewhat out of 
date, but with neat hat, gloves and shoes. 

Rosamond (rising and coming forward) . Jane Rivers ! 
Oh, how glad we all are to see you ! 

(She kisses Jane. The others all crozvd round, ex- 
cept Eleanor, who rises, but stands apart and knits.) 



14 THE KNITTING CLUB MEETS 

Lucy (kissing Jane). You sweet thing! When did 
you come? 

Alice. I never was so glad to see any one in my life ! 

Myra. This is a treat ! 

Grace. You precious old thing; you look tired out. 
Sit down and have a cup of tea. 

Lydia. If I had known of this happy event in time, I 
should have had a poem of greeting ready. 

Enter Norah, back, with fresh teacup. Rosamond goes 
back to table and pours tea. Jane advances front 
and sees Eleanor. 

Jane. Why, Eleanor Kent ! Oh, I am glad to see 
you, dear! 

(She goes to Eleanor with both hands outstretched. 
Eleanor affects to have dropped a stitch and bends 
over her knitting.) 

Eleanor (awkwardly). How do, Jane — excuse me 
just a minute. I 

Jane (laughing whole-heartedly and szveeping Elea- 
nor's knitting aside). I won't wait — not a second, my 
dear. Kiss me at once, you humbug. You have had 
three years in which to pick up dropped stitches. (She 
catches Eleanor by her elbows and whirls her around to 
face the light.) Yes, married life agrees with you, my 
dear. You must tell me all about him, some time — what 
he said, what you said, — what the world said. (Reminis- 
cently.) Let me see, didn't you and I have a quarrel of 
some sort, once upon a time? 

(The rest have grouped themselves in background, 
drinking tea, eating cakes and sandwiches, and look- 
ing on or talking aside. At Jane's zvords, Rosa- 
mond gives a gasp, and half rises as if to interrupt. 
Eleanor looks embarrassed.) 

Eleanor (with downcast head). Why — yes — we did 
quarrel — Jane 

Jane (laughing). I wonder what it was about? 
Some silly disagreement about boys, or the color of our 
eyes, T suppose. (Dropping Et/kanor's arms and look- 



THE KNITTING CLUB Mi-ETS 15 

ing sad all at once.) How little those things matter 

now. Oh, girls, how little anything matters but 

(Recovers herself with a little laugh.) But I am not on 
the lecture platform yet, am I ? Did some one murmur 
something about tea, Rosamond? Please give it to me 
strong, with lots of sugar. I haven't tasted sugar for — 
centuries, I think. And here you have it in lumps. 
Actually in lumps! (Stands behind tea-table, facing 
audience, and holds up a lump of sugar.) If you all 
knew what a real curiosity that is ! 

(Rosamond gives her a cup of tea. The others over- 
whelm her with cakes, candies, sandwiches. 
Eleanor still stands aloof.) 

Eleanor. I can't see anything so curious about a 
lump of sugar. 

Jane (quietly). No, you wouldn't, Eleanor. You 
see, you don't know. None of you know — oh, thanks, 
Rosamond dear, that is fine. Such thick, yellow cream ! 
(Takes taste of tea, then eyes the various plates of cakes 
and sandwiches that are held out to her.) O-o-oh ! 
Chocolate cake ! Angel food — rightly named ! Cocoa- 
nut kisses ! Oh, oh, oh ! I feel like a child at her first 
Christmas tree. I must have some of everything. 
(Laughs and heaps cakes on her saucer. She nibbles at 
one, the others looking on, smiling. Suddenly she drops 
the cake, and sets down the cup.) I can't eat it! I 
can't. It chokes me. Oh, girls, you don't know — you 
don't know ! You can't know until you have been there, 
and seen what I have seen. Or — (she pauses and looks 
about her gravely) until it all happens to us over here. 
It can, you know. Why, girls, think of it. Families 
with as many comforts and luxuries as all of us have 
been used to — with refined tastes and exquisite man- 
ners — turned out, desolate, penniless, at the mercy of 
strangers for food and clothing. Think of the young 
households broken up — suppose you, Eleanor, just be- 
ginning your married life as you are, should be called 
upon suddenly to give it all up ; your pretty house, your 
maids, even the furniture of your own selection, and go 
back to your father's, or father-in-law's to live, uncer- 



l6 THE KNITTING CLUB MEETS 

tain each day of your husband's fate! Thousands — 
tens of thousands of young married people have broken 
up homes like that — happy, comfortable little homes 
chosen and arranged with such pride — and never a mur- 
mur. More heartrending still (she pauses a moment) 
three-quarters of those young wives and mothers are 
wearing black now. Yet they would do it all over again — 
still without a murmur, because it is for their country. 
More ! It is for civilization — and for us. For us ! 
(Pause, lowering her voice.) And over here we eat 
chocolate cake and prate about the horrors of war! Oh, 
girls, why can't America get busy? Why can't we help 
them? 

Eleanor (more meekly than she has spoken yet). 
We have bought Liberty bonds, and — - — 

Jane. Liberty bonds, forsooth ! A magnificent gift 
to civilization ! Why, buying Liberty bonds is just noth- 
ing but a cracker- jack investment. That is the trouble, 
Eleanor. In just the few days I have been home, I have 
discovered the difference between us and the French 
women. They have given everything; we, nothing — 
that we could not spare. The difference is greater than 
that. Here, we still think of self. In France the in- 
dividual is gone. Individual taste, individual comfort — 
even individual safety — count for nothing. That is what 
I have come back to teach our women. (Slight pause. 
The women all move back a little. They look deeply 
moved; one or two furtively brush away a tear.) Of 
course I have come for something else, too. We all want 
money. I must have it, girls, for those women over 
there — the ones who wear black — the ones who carry 
babies that never saw their fathers — the ones who used 
to live in homes like this, and who now inhabit bare 
attics, toiling, toiling, toiling long hours — for a crust of 
black bread our pampered dogs would scorn. Oh, those 
women of France ! If only I could make you see — make 
you understand ! 

(She stops, putting her hands in front of her face. 
The others gaze at her, hushed, silent, and awestruck. 
Then, impulsively, Rosamond jumps up, pushing 



THE KNITTING CLUB MEETS 17 

aside with a gesture of repulsion the laden tea-table. 
She crosses to back of room, catches up an orna- 
mental jar, empties its contents, and thrusts it into 
Jane's hands.) 

Rosamond. A melting pot, Jane — not for any indi- 
vidual, from any individual, but for the cause of Civili- 
zation against Chaos. Come, girls, give, give, give ! 

(When she has finished speaking Rosamond exits, r., 
hastily.) 

Jane (catching the spirit, and holding the bowl aloft). 
Yes, girls, give. Come, mortify your pet vanity. 

(There is a slight pause. The women glance at one 
another shyly. Then Grace suddenly puts her hand 
to her throat and unfastens a handsome brooch.) 

Grace. The children gave it to me for Christmas — 
saved their precious allowances for it — but 

(She steps forward and drops the brooch into the 
bowl. Enter Rosamond, r., with a check which she 
drops in bowl.) 

Rosamond (with a choked laugh). There go my 
dinner parties for many months to come. 

Lydia (removing a handsome chain). I bought it 
with the money paid me for my first poem ! 

(Lays it tenderly in bowl.) 
Myra (also taking off large, handsome brooch and 
dropping it in). It is one of my wedding presents, and 
it has been Fred's and my boast that we have never 
parted with any of them. 

(Alice pulls off a wrist watch, comes forward slowly, 
and drops it in.) 

Alice. I have wanted one, ever since they came in, 
and Father gave me this on my birthday. 

(Lucy steps to c. of stage, fingers her gold-link bag, 
hesitates, then opens it and takes out roll of bills. ) 

Lucy. I had planned to stop in on my way home to 



l8 THE KNITTING CLUB MEETS 

buy a new pair of boots. They were to cost sixteen 
dollars. (Her voice takes on a note of horror.) That 
did not sound so much — then. And enough stockings to 
match would have cost as much more 

(Slowly the bills flutter from her hand into the bowl. 
She closes the gold bag, eyes it a moment, then im- 
pulsively lays it, too, in the bowl.) 

► 

Rosamond (softly). Bravo, Lucy! 

Jane (smiling with wet eyes, and looking from bozvl 
to those around her). Oh, girls, if you could know what 
this means to me ! Come on, Eleanor — make haste or 
you will miss your privilege ! 

(Eleanor turns away, then turns back and moves c. 
stage; her face is tear-stained, her hands tremble. 
Slowly she lifts them to her neck and unclasps an 
exquisite pearl necklace. Every one but Jane gives 
an involuntary gasp. Eleanor lays the string of 
pearls in the bowl, then leans across it and kisses 
Jane on the cheek.) 

Eleanor (brokenly). I have been petty and — and 
individual, Jane. I am sorry. 

(Jane gives her a radiant smile in answer. Then some 
one — either one of the characters, if one can play 
and a piano can be used on the stage; if not, some 
one off stage — strikes the opening bars of the " Mar- 
seillaise.") 

Jane (stepping to front of stage and holding bowl 
aloft). For the women of France — the patient, splen- 
did women of France ! 

(They sing the "Marseillaise") 
CURTAIN 



MASTER PIERRE PATELIN 

A Farce in Three Acts 

Englished from an Early (1464) French Play 

By Dr. Richard T. Holbrook 

Of Bryn Maivr College 

CHARACTERS 

Pierre Patelin, a lawyer. 
Guillemette, his wife. 
Guillaume Joceaulme, a draper. 
Tibalt Lambkin, a shepherd. 
The Judge. 

Four males, one female. Costumes of the period, amply suggested by 
reproductions of contemporary cuts; scenery, very simple and fully ex- 
plained. Plays an hour and a half. A popular edition of this well-known 
French farce for schools. Its literary and historical interest very great, 
it is perfectly actable and absolutely modern in its dramatic appeal to an 
audience, and uproariously funny in its effect if presented with even slight 
skill. Altogether an ideal offering for schools and colleges. Professor 
Holbrook's version, here offered, has been acted with distinguished suc- 
cess at Bryn Mawr College and at The Little Theatre in Philadelphia, 
and a version adapted from the Holbrook text by Professor George P. 
Baker was successfully given at his " Workshop 47 " in Cambridge. 
Strongly recommended. Free of royalty for amateur performance. 

Price, 30 cents 

JOLLY PLAYS FOR HOLIDAYS 

A Collection of Christmas Plays for Children 
By Carolyn Weils 

COMPRISING 

The Day Before Christmas. Nine males, eight females. 

A Substitute for Santa Claus. Five males, two females. 

Is Santa Claus a Fraud ? Seventeen males, nine females and chorus. 

The Greatest Day of the Year. Seven males, nineteen females. 

Christmas Gifts of all Nations. Three males, three females and chorus. 

The Greatest Gift. Ten males, eleven females. 

The plays composing this collection are reprinted from " The Ladies' 
Home Journal " of Philadelphia and other popular magazines in answer 
to a persistent demand for them for acting purposes. Miss Wells' work 
requires no introduction to a public already familiar with her wit, her hu- 
mor and her graceful and abundant fancy, all of which attractive qualities 
are amply exemplified in the above collection. These plays are intended 
to be acted by young people at the Christmas season, and give ample sug- 
gestions for costuming, decoration and other details of stage production. 
These demands are sufficiently elastic in character, however, to make it 
possible to shorten and simplify the performance to accommodate almost 
any stage or circumstances. The music called for is of the simplest and 
most popular sort, such as is to be found in every household and memory. 
This collection can be strongly recommended. 

Price, cloth, post-paid by mail, 60 cents net 



THE DISTRICT ATTORNEY 

A Comedy Drama in Three Acts 
By Orrin E. Wilkins 
Ten males, six females. Costumes, modern ; scenery, two easy inte 
riors. Plays a full evening. Bob Kendrick, college athlete and popular 
man, is in love with Dorothy Seabury, but she will not hear him until he 
has made a start in life. He runs for the office of District Attorney as 
part of a political trick of the " boss," Sullivan, but turns the trick and 
wins the election. His first official act is the prosecution of the Packing 
Company of which Dorothy's father is the head, which leads to his suicide 
and Dorothy's alienation. Later, when she knows that his strict pursuit 
of duty has not spared his own father's name, which was involved in the 
same scandal, she understands and forgives him. The political thread on 
which is strung a strong and varied story, introducing lots of comedy and 
a strong college flavor. Good enough for any purpose ; strongly recom- 
mended. 

Price, 25 cents 

CHARACTERS 

Mr. Wm. Seabury, Pres. of Seabury Packing Co. 

Mr. Herbert Brownell, reporter of the " Tribune* 9 

Richard Seabury, senior at college. 

Bob Kendrick, a fixture at the university. 

Billy Reynolds, freshman at college. 

P. Homer Sullivan, politician. 

John J. Crosby, district attorney, running for reelection. 

Jimmie, office boy. 

Howard Calvert, Beverly s little brother. 

Sam, Calvert's butler. 

Aunt Hattie, Wm. Seabury s sister. 

Dorothy Seabury, Wm. Seabury s daughter. 

Beverly Calvert, ) 

Peggy Marshall, \ Dorothy s chums. 

Polly Whitney, j 

Margaret, servant. 

SYNOPSIS 

Act I. Drawing-room of the Seabury residence. 

Act II. The district attorney's office, a few months later. 

Act III. Same as Act I, one year later. 

A SUFFRAGETTE TOWN MEETING 

An Entertainment in One Act 
By Lilian Clisby Bridgham 
Twenty female characters. Costumes, modern ; scenery, an ordinary 
room or hall — unimportant. Plays one hour. Presents a town meeting as 
it will be conducted by and by when the ladies have taken full charge of 
the public business. A shrewd and good-natured satire of present feminine 
peculiarities applied to this problem written for laughing purposes onlv 
Just the thing for women's clubs. 

Price, 25 cent r . 



THE FIRST LADY OF THE LAND 

A Play in Four Acts 
By Charles Frederic Nirdlinger 
Eleven male, eight female characters, and supers. Costumes, early 
American. Scenery, three interiors. Plays a full evening. This charm- 
ing comedy, well remembered for the delightful performance of its leading 
part by Elsie Ferguson, is peculiarly well suited for school performance 
since its witty lines and lively incidents relate a story of American history 
and involve the personalities of Aaron Burr, James Madison, Alexander 
Hamilton and the charming Dolly Madison. For this reason and for its 
dramatic interest and rvalue it is strongly recommended. Amateurs may 
produce it on payment of a royalty of #25.00. 

Price y jo cents 

CHARACTERS 

James Madison, Congressman from Virginia; afterwards Secretary of State in 
Thomas Jefferson's cabinet. 

Aaron Burh, Senator from New York ; afterwards Vice-President of the 
United States. 

Bohlen Pinckney, the President's Secretary. 

Sir Axtiionv Merry, British Minister at Washington. 

Don Carlos Martinez, Marquis D'Yrujo, Spanish Minister at Wash- 
ington. 

Mynheer Van Berckel, Minister from the Netherlands. 

Louis Andre Pichon, Charge d' Affaires for France. 

Jennings, servant at Dolly Todd's ; later at Madison's. 

De Vaux, Major-Domo at White House. 

The Cook. 

The Hair-dresser. 

Dolly Todd, afterwards Mrs. James Madison. 

Sally McKean, afterwards Marchioness £>' Yrvjo. 

Mrs. Sparkle. 

Sophia Sparkle, her daughter ; afterwards Madame Pichon. 

Lady Merry. 

The Honorable Ena Ferrar, Lady Merry's sister. 

Vrou Van Berckel. 

Minister From Russia and ~) 

Countess Dashkoff > Silent figures. in Act III. 

Minister From Turkey ) 

Clotilde. maid at Dolly Todd's. 

Footmen, Valets, Servants, Etc. 

THE ARRIVAL OF KITTY 

A Farce in Three Acts 
By Norman Lee Swartout 
Five male, four female characters. Costumes, modern ; scenery, one 
interior. Plays a full evening, A piece in the " Charley's Aunt " class. 
Bobbie Baxter, pursuing his little love-affair with Jane against the opposi- 
tion of her uncle, William Winkler, has occasion to disguise himself in 
female costume, and is taken for Kitty, an actress and close friend of 
Winkler, to the vast confusion of everything and everybody. Very funny 
and strongly recommended. Has been played professionally over two 
thousand times and may be produced by amateurs for a royalty of #10.00. 

Price, jo cents 

CHARACTERS 
William Winkler. Ting, a bell-boy. 

Aunt Jane, his sister. Sam, a colored porter. 

Jane, his niece. Kitty, an actress. 

Bobbie Baxter. Suzette, Aunt Jane's maid, 

Benjamin More. 



THE MAN WHO WENT 

( Originally produced ujider the title "The Black Feather. ' ' ) 
A Play in Four Acts 
By W. A. Tremayne 
Seven males, three females. Scenery, one interior and one exterior. 
Costumes, modern. Plays a full evening. Royalty, #10.00 for the first 
and ^5.00 each for other immediately succeeding performances. An ex- 
ceptionally stirring and effective play of the Great War, produced with 
great success in Canada as the successor of the popular " The Man Who 
Staved at Home." Jack Thornton, a King's Messenger, entrusted with 
important state papers for delivery in Vienna, is robbed of them through 
his attachment to a lady in the Austrian secret service, and his career 
jeopardized ; but by the cleverness and daring of Dick Kent, of the Eng- 
lish secret service, who is in love with his sister Evelyn, the plot is frus- 
trated in a series of thrilling scenes, and all ends well. An exceptionally 
well built drama, full of sensations, ending in a strong last act full of 
" punch." A good play for any purpose, but ideally suited to the temper 
of the present. Plenty of comedy, easy to stage, and confidently recom- 
mended. Price, 2 >j cents 

CHARACTERS 
Dick Kent, in the English Secret Service. 
Jack Thornton, a King s Messenger. 
Baron Von Arnheim, in the German Secret Service. 
Sir George Caxton, in the British Foreign Office. 
Hogue, a German spy. 
Barnes, a chauffeur. 
Patton, a keeper. 
Evelyn Thornton, Jack's sister. 

Countess Wanda Von Holtzberg, in the Austrian Secret Service. 
Lady Venetia Caxton, Sir George s wife. 

The action of the play takes place in the early summer of IQJ4. 

SYNOPSIS 

Act I. Jack Thornton's chambers in Portman Square, London. 
Dealing the cards. " Beware of the dog." 

Act II. A retired corner of Sir George Caxton's estate in Kent. 
Dick takes the first trick. " The son of his father." 

Act III. Jack Thornton's chambers. A bold play. " Drive 
like the devil, Barnes — we've got to make Charing Crossby nine." 

Act IV. Jack Thornton's chambers. Dick wins the game. 
"Tightening the bonds of Empire." 

OUTWITTED 

A Comedy Dramatic Novelty 
By Harry L. Newton 
One male, one female. Scene, an interior ; costumes, modern. Plays 
twenty minutes. Sherman, a United States Secret Service man, encoun- 
ters Sophie, supposed to represent the enemy, and a duel of wits ensues. 
Very pxciting and swift in movement, with an unexpected ending. Good 
woik and well recommended. Price, 25 cents 



A PLAY A MONTH 

By Alice IV. Chaplin 
Twelve twenty minute sketches for female characters, providing a 
timely and appropriate entertainment for each month in the year. Suit- 
able for church or school performance or for any other use of amateur 

theatricals. D ■ „„ . 

Price, jo cents 

CONTENTS 

Pickles, Bonbons, and Temper Independent Flynn (5 girls;. 

(4 girls). Home and Mother (6 girls). 

A Valentine Problem (3 girls). All for a Man (6 girls). 

Mad! Mad! (5 girls). Behind the Screen (sgirls). 

Because it Rained (4 girls). Thankful for Jack (6 girls). 

May (5 girls). Merry Christmas (4 girls). 
That Boy (4 girls). 

TEN PLAYS FOR BOYS 

By George M. Baker and others 
A collection of popular plays, new and old, for boys of the school age, 
offering a wide variety of choice and providing a convenient means for 
making a selection of material for this purpose. 

Price, jo cents 

CONTENTS 

Not Wanted— A Wife (5 boys). New Broom Sweeps Clean (6 boys). 

The Freedom of the Press (8 boys). A Tender Attachment (7 boys). 

The Great Elixir (9 boys). Dizzy's Dilemmas (4 boys). 

The Humors of the Strike (8 boys). Hypnotism (5 boys). 

My Uncle the Captain (6 boys). Julius Caesar in two acts ( 10 boys). 

THE ELF THAT STAYED BEHIND 

And Other Plays for Children 
By Madeline Poole 

Five exceptionally pretty, picturesque and actable little plays for young 
folks, all produced at various times by the author. Including one of the 
Colonial period, one of the Revolutionary and a Christmas play turning 
upon incidents of the present war in Belgium, the latter admirably suited 
for Red Cross entertainments. Strongly recommended for both literary 
and dramatic merit. 

Price, jo cents 

CONTENTS 

The Elf that Stayed Behind (1 boy, 5 The Quaker Way (3 boys, 4 girls). 

girls). The Christmas Box (3 boys, 3 girls). 

The Goblins (6 boys, 2 girls). A Puritan Prank (4 boys, 4 girls). 

A CAMP FIRE CINDERELLA 

A Camp Fire Play in One Act 
By Mrs. Arthur T. Seymour 
Six females. Scene, an interior ; costumes, modern and Camp Fire. 
Plays twenty minutes. Gertrude, the younger sister, is refused member- 
ship in the Camp Fire organization by her two sisters who use her as their 
drudge, but her efficiency and unselfishness win out for her in the end. 

Well recommended. n ■ 

Price, 1$ cents 



playing on the Carlton Springs summer base' 
ball team. 



CAUGHT OUT 

A Farce in Three Acts 

By H. Manley Dana 

Nine male, two female characters. Costumes, modern ; scenery, one 
interior. Plays an hour and a half. De Witt Boyd is jollied into making 
a foolish bet that he will propose to Bess Mason and be rejected. She 
overhears the plot and accepts him instead, thus getting both herself and 
him into all kinds of a mess. A baseball play, full of action and interest, 
recommended to high schools. Easy and effective ; free from royalty. 

Price, /j cents 

CHARACTERS 
Bill Randolph 
Dick Rogers 
Jack Davis 
George Brown 
Kenneth Marsh 
Charlie King 
De Witt Boyd, manager of the team. 
Harry Wilkes, formerly an Amherst pitcher; now wanted to 

pitch on the Carlton team. 
Mr. Weaver, afflicted with sunstroke. Has come to Carlton 

Springs to take the cure. 
Bess Mason ) both staying at the Carlton 

Christabel Lee j Springs Hotel. 
Hotel Waiters. 

Remainder of team and substitutes, 

A TAKING WAY 

A Farce in One Act 
By Innis G. Osborn 
Four male, two female characters. Costumes, modern ; scenery, one 
interior. Plays forty-five minutes. Jacobus Harwinton, a newly-wed with 
a very jealous better half, gets by mistake into John Halsey's flat, taking 
it for that of a friend that has been loaned him for his honeymoon, and in- 
herits all of John's troubles, including Jennie, a very up-to-date typewriter, 
to say nothing of a casual burglar. Very swift and funny and strongly 
recommended. Price, ij cents 

LOCAL AND LONG DISTANCE 

A Farce in One Act 
By H. Manley Dana 
One male, six female characters. Costumes, modern ; scenery, one in- 
terior. Plays half an hour. George Davis, borne from Yale with a broken 
leg, is left in charge of the house for an hour of a rainy day, and thus 
anchored trouble revolves around him like a wheel, largely turned by the 
charming Kitty Parsons who takes this chance to be revenged upon him 
for a little slight. Irresistibly funny to all telephone users. Strongly 
recommended. Price t /J cents 



JL IU* Pinero's Plays 

Price, 50 0e m €acb 

Min PHANNFI Play in Four Acts. Six males, five females. 
l"liLr-V^Il.r\nilljLi Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH ESTMK 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

Tlir DDOFIIPATF Play in Four Acts. Seven males, five 
* nEl * IWr LilVJrt. 1 £j females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full eveuing. 

THF QPHnO! MIQTRFQ^ Farce in Three Acts. Nine males, 
IOEi jJV^nWVLilTllvJl IVLjJo se ven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY g& ta ,2K, A SS 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

C117TCT I AVFNmFR Comedv in Three Acts. Seven males, 
Off EjCI Li/\ VEilllsEiIY four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

THF THTTNnFRRfllT Comedv in Four Acts. Ten males, 
lll£i i nulJULiSXDXJLil nine females. Scenery, three interi- 
ors; cost ,mes, modern. Plays a fill evening. 

THF T^MF^ Comedy in FourlActs. Six males, seven females. 
***Cj 1 .ilTIEikJ Scene, a single interior ; costumes, modern. Plays 
a full evnning. | 

THF WFAKTR ^FY Comely in Three Acts. Eight males, 
I llEi TTXi/\IV£iIV 0£iA eight If emales. Costumes, modern; 
scenery, two interiors. Plavs a fuli^e veiling. 

7 \ 

A WIF£ WITHOUT A SMILE FIve^aleMourfemalw! 
Costume* modern ; scene, a single interior. Plays a full evening. 

feent prepaid on receipt of price by 

Salter %• l&tifir & Company 

NOc/5 Hamilton Place, Boston, Massachusetts 



2*£ 




%ty William barren Ctittton 
of $ta?6 

t&rite, 15 <Ccntjtf <£art> 



A^ Yftll I IITF IT Comedy in Five Acts. Thirteen males, four 
AD IvU MAE II females. Costumes, picturesque ; scenery, Ta- 
iled. Plays a full evening. 

Ci Mil I V Drama in Five Acts. Nine males, five females. Cos- 
AiUUUEK tumes, modern ; scenery, varied. Plays a full evening. 

IVfiAM AD Play in Five Acts. Thirteen males, three females. 
lilUlrulAlV Scenery varied ; costumes, Greek. Plays a full evening. 



MADV ^TIIADT Tragedy in Five Acts. Thirteen males, four fe- 
01 AM JIUAIil males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

TBE MERCHANT OF VENF.CE £*?k l £S5B£S: c°™ 

pieturesque ; scenery varied. . 'iays a full evening. 

HIPHFI IFII Play in Five Acts. Fifteen males, tvo females. Scen- 
lUvllLLllvU er y olaborate ; costumes of the period. Plays a full 
evening. 

THP BIVAI^ Comedy in Five Acts. Nine males, fivt, females. 
llJXr niTAlvJ Scenery varied; costumes of the perio i. Plays a 
(all evening. 

SHE STOOPS TO CONQUER males, four females Scenery v£ 
lied ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOU WILL SSu&ftJE: 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Salter $, TBafier & Company 

Ho. 5 Hamilton Place, Boston, Massachusetts 



= 



•. J. PARKHILL A CO.. PRINTERS. BOSTON. U.k *. 



